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The Rising | Interview with Clara Rugaard (Neve Kelly)

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In the trailer for The Rising Neve says, “I won’t be somebody’s victim.” Is that the key line for you?

Yes, it is. One of the reasons why I think this show is unique and interesting is because it does the beautiful thing of reimagining the ‘dead girl’ story and gives the victim a voice. It’s all through the victim’s perspective and through Neve’s eyes. The drive and the force is coming from her. ‘That’s not how my story is going to end.’ I think that that’s clever and really cool.

What is missing from Neve’s life before her death?

I think that Neve is essentially a big fish in a very small pond, and I think that thought is terrifying. It’s that whole creature of habit thing. This is what she’s known. The people that she loves are there, but she wants more. There’s this internal struggle that Neve carries with her throughout the show.

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How close is Neve to her mum? And how did that change when her parents split, and Maria got together with Daniel and his kids?

They’ve always been a unit. Neve and Maria have always shared something very special. They are like partners-in-crime. They’re this family of artists that come into another family that are a bit less arty and who have got a regime and a schedule. Neve and Maria are a bit all over the place, which is a beautiful dynamic. We had discussions with director Ed Lilly and production designer Sami Khan and the whole art department about how Maria’s and Neve’s art has similarities, but they are not the same. There are those big pieces of amazing artwork throughout the whole show.

Do you paint?

I do from time to time – definitely not as good as Neve or Maria or the art department for that matter. During the pandemic it was one of the things that I took up again as many people probably did.

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How would you describe Neve’s bedroom?

It’s the artist-meets-the-motocross-rider. It’s the competitive, sporty tomboy. It’s very artistic in terms of her clothing and all the art on her walls. She’s constantly trying to express herself and have an outlet, because it’s that internal struggle that she carries with her. She can’t really pinpoint and formulate or put it into words, so she’s got all these other mediums to try to express that through.

What conversations did you have with Grace Snell and Frances Hounsom about Neve’s look, particularly when she first rises?

We had so many conversations. I was in LA when I booked the job and I remember being on Zoom with Fran about the hair, which I knew was going to be a big thing. I had long hair and I’d never done anything drastic with it, never really dyed it before. Fran was showing me this mood board and I’m thinking, ‘Ok, we’re doing it.’ Fran is an absolute artist as is Grace.

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What was it like stepping into the lake?

Ooh, bit nippy. I mean it was fun. It’s fun to complain in the moment because it was freezing and my lips were blue but you come away with such amazing experiences. I would never have done that had I not had to. It was invigorating. I do take cold showers from time to time now after that because of the whole Wim Hof idea. But it was freezing.

What was your thought process on how to play Neve within scenes where no one else can see her?

Honestly it was quite wild. We had started shooting and on week two I was feeling really sad. I couldn’t really figure out why and then I was like, ‘Oh, it’s because I’m being ignored. I am literally being ignored by everyone.’ I was really fighting my corner trying to be seen and heard as Neve and I was getting nothing back. It was quite strange having to navigate that. I feel for Neve. It’s tough. (laughs)

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How was your motocross training with Katy Bullock?

So much fun. It was my first time on a motorbike. As much as I would love to say that I was really good I spent a whole week learning and we took baby steps. We started off on an electric bike and then worked our way up to the big boys. Then Solly McLeod just waltzes in halfway through the week and gets straight on the big bike. This was my first time of me seeing him as well. I was like, ‘Screw you, man.’ (laughs) He’s got a real flair for it. Those bikes are incredibly heavy. I took personal training sessions to try and build up muscle around my shoulders and my arms because I really didn’t have much of that before. If you’re a motocross rider you really do have to have a strong upper body to keep those bikes steady.

Do you come from an athletic and dance background? Did that help at all with the physicality of this role?

I did ballet for 10 years. I started when I was three or four years old and then kept going, I eventually had to stop. It was one of those things where I reached an age where I had to pick what I wanted to do and acting just trumped it. Also dance isn’t my greatest strength. The ballet training has hopefully given me some posture.

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Did you do any research into motocross? Are there a lot of female riders now?

There are quite a lot. I got taught the most by Katy. She is such a powerhouse and so cool. There is definitely an element of Neve that is taken from her. Just her go get it attitude.

How was the mortuary scene to play? Was that emotionally one of the toughest?

Yeah, I remember reading that scene and feeling just hollow after it and really quite shaken up. The whole visual of it and the idea of you coming across your own body and taking your own hand and consoling yourself, it’s just so powerful. It was quite a tough scene to shoot.

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Do you have a favourite scene?

The mortuary scene was very strange – the two Neves – especially because I had to be the one Neve and then the other. Playing dead, I’ve done it a few times now but it’s not as easy as people would think, especially when there are close-ups of the dead face. If there are lights on you and, on your eyes, even though they are close it’s so hard not to flinch. It was fun to shoot but strange.

You and Nenda Neururer have great onscreen chemistry. Did you just click when you first met?

I just love her so much. She’s amazing and she brought such levity on set and made it all very light and fun and she’s just a brilliant actress as well. I remember when we first met finding out she was Austrian and me being Danish and us being in Manchester with our English accents in a British show was quite a wild coincidence. We spent a lot of time talking about that being foreigners. She’s great.

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What do you hope audiences take from The Rising?

I remember reading the script and reading Neve, I don’t think I’d ever seen characters that were so complex and raw and tangible in a high concept supernatural crime drama. The contrast was just really interesting. It grounds it so much and I think that is also what makes it so relatable even in a world that is quite out there and hard to imagine. I hope that they will vouch for all these people.


Alastair James is the editor in chief for Memorable TV. He has been involved in media since his university days. Alastair is passionate about television, and some of his favourite shows include Line of Duty, Luther and Traitors. He is always on the lookout for hot new shows, and is always keen to share his knowledge with others.

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